Notes and References
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
The White Guard Pdf, Epub, Ebook
THE WHITE GUARD PDF, EPUB, EBOOK Mikhail Afanasevich Bulgakov | 304 pages | 06 Jul 2006 | Vintage Publishing | 9780099490661 | English | London, United Kingdom The White Guard PDF Book Thanks for telling us about the problem. Previous George Daniel. Just Mercy. Bulgakov's letter is a testament to the emerging double-think of the Stalin era; at once superficially defiant, yet exhibiting an insidious desire to conform. Changes to the decree were made later, refining the organisation's structure. Perhaps the most credible of all the characters — in novel as well as play — is Bulgakov's own alter ego, Alexei Turbin. Although the founding of these "fire brigades" was often done in a non-partisan manner, they often split into two opposing factions during the autumn of This never took place, but for the rest of his life — he was to die, prematurely, worn out and demoralised in — Bulgakov expected the phone to ring again. Bulgakov was a heavily marked man, and by the time Stalin made his telephone call it seems all too likely that the writer was facing the same fate as other dissident voices, such as his brother-in-law Andrey Zemsky: a prison sentence or internal exile. From until the organisation's demise, this post was occupied by Gen. Literature Poetry Lit Terms Shakescleare. Having qualified in , Bulgakov had seen six months' service on the frontline as an army doctor; after this he transferred to the civil medical service and worked in a rural hospital. The Guard did not distinguish between any non-socialist political views and received the support of all non-socialist parties. -
The White Guard PDF Book
THE WHITE GUARD PDF, EPUB, EBOOK Mikhail Afanasevich Bulgakov | 304 pages | 06 Jul 2006 | Vintage Publishing | 9780099490661 | English | London, United Kingdom The White Guard PDF Book Sure he had and s It was indeed a very amusing book. LitCharts Teacher Editions. When the shooting stars Use my words as bullets, Crimson with hate. I think that I was looking for something similar to Grossman's Life and Fate , but I just couldn't really find it here, and the introduction set up the book so well, too. This is a very interesting piece of text about the theatre and life within theatre. Nothing is ever perceived clear as to what is actually going on, in terms of leadership. Jul 26, Jayaprakash Satyamurthy rated it it was amazing. While The White Guard , Bulgakov's first novel, doesn't have the same surreal or supernatural elements as his later works, such as The Master and Margarita or Heart of a Dog , those qualities are presaged in the dream sequences and lyrical descriptions of the city of Kiev. More Details Born in Kiev in , the eldest of what was to become a family of seven children, Bulgakov belonged not only by blood — his father was a professor of theology at Kiev's theological seminary — but also by inclination to the ancient regime. While the main story revolves around the members of the Ukrainian Turbin family, the essence of the story is much more far reaching and captures the seemingly endless turbulence of both the City and the nation. During the strike Finnish police forces were effectively disbanded, as they had been closely associated with the occupying Russian authorities. -
The Role of Stanislavsky and the Moscow Art Theatre's 1923 And
CULTURAL EXCHANGE: THE ROLE OF STANISLAVSKY AND THE MOSCOW ART THEATRE’S 1923 AND1924 AMERICAN TOURS Cassandra M. Brooks, B.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS August 2014 APPROVED: Olga Velikanova, Major Professor Richard Golden, Committee Member Guy Chet, Committee Member Richard B. McCaslin, Chair of the Department of History Mark Wardell, Dean of the Toulouse Graduate School Brooks, Cassandra M. Cultural Exchange: The Role of Stanislavsky and the Moscow Art Theatre’s 1923 and 1924 American Tours. Master of Arts (History), August 2014, 105 pp., bibliography, 43 titles. The following is a historical analysis on the Moscow Art Theatre’s (MAT) tours to the United States in 1923 and 1924, and the developments and changes that occurred in Russian and American theatre cultures as a result of those visits. Konstantin Stanislavsky, the MAT’s co-founder and director, developed the System as a new tool used to help train actors—it provided techniques employed to develop their craft and get into character. This would drastically change modern acting in Russia, the United States and throughout the world. The MAT’s first (January 2, 1923 – June 7, 1923) and second (November 23, 1923 – May 24, 1924) tours provided a vehicle for the transmission of the System. In addition, the tour itself impacted the culture of the countries involved. Thus far, the implications of the 1923 and 1924 tours have been ignored by the historians, and have mostly been briefly discussed by the theatre professionals. This thesis fills the gap in historical knowledge. -
Satiric Image of Soviet Reality in the Works of M.A. Bulgakov Pjaee, 17 (7) (2020)
SATIRIC IMAGE OF SOVIET REALITY IN THE WORKS OF M.A. BULGAKOV PJAEE, 17 (7) (2020) SATIRIC IMAGE OF SOVIET REALITY IN THE WORKS OF M.A. BULGAKOV Guo Cong1*, Chistyakov Alexander Valerianovich2 1*PhD Student of the Department of Russian and Foreign Literature, Faculty of Philology, Peoples' Friendship University of Russia. 2Candidate of Philological Sciences, Associate Professor of the Department of Russian and Foreign Literature, Faculty of Philology,Peoples' Friendship University of Russia. 1*Guo Cong Guo Cong, Chistyakov Alexander Valerianovich.Satiric Image of Soviet Reality in the Works of M.A. Bulgakov-- Palarch’s Journal of Archaeology of Egypt/Egyptology 17(7), 5670-5681. ISSN 1567-214x Keywords: M.A. Bulgakov, Satire, Grotesque, Parody, Infernal Elements. ABSTRACT The article is devoted to the originality of the satirical depiction of the Soviet system in the stories of M.A. Bulgakov's "Diaboliad", "Fatal Eggs", "Heart of a Dog" and the novel "The Master and Margarita". The main artistic techniques of Bulgakov's satire are considered - grotesque, fantastic assumption, irony and parody. A characteristic feature of Bulgakov's artistic method is highlighted - a combination of a realistic image of Soviet society with carnival and infernal motives.The present study examines specific features of satirical image of the Soviet system in M.A. Bulgakov's novels “Diaboliad”, “The Fatal Eggs”, “Heart of Dog” and “The Master and Margarita”. Basic art techniques of Bulgakov's satire, such as grotesque, fantastic assumption, irony, parody, are reviewed. In addition, the combination of realistic image with carnival and infernal motives is described as a typical feature of Bulgakov‟s art method. -
The Strange Afterlife of Stalinist Musical Films
THE STRANGE AFTERLIFE OF STALINIST MUSICA L FILM S Rimgaila Salys University of Colorado — Boulder The National Council for Eurasian and East European Research 910 17 th Street, N .W . Suite 300 Washington, D .C. 20006 TITLE VIII PROGRAM Project Information* Principal Investigator: Rimgaila Salys Council Contract Number : 817-08 Date : March 12, 2003 Copyright Information Individual researchers retain the copyright on their work products derived from research funde d through a contract or grant from the National Council for Eurasian and East European Research (NCEEER). However, the NCEEER and the United States Government have the right to duplicat e and disseminate, in written and electronic form, reports submitted to NCEEER to fulfill Contract o r Grant Agreements either (a) for NCEEER's own internal use, or (b) for use by the United State s Government, and as follows: (1) for further dissemination to domestic, international, and foreig n governments, entities and/or individuals to serve official United States Government purposes or (2 ) for dissemination in accordance with the Freedom of Information Act or other law or policy of th e United States Government granting the public access to documents held by the United State s Government. Neither NCEEER nor the United States Government nor any recipient of thi s Report may use it for commercial sale . The work leading to this report was supported in part by contract or grant funds provided by th e National Council for Eurasian and East European Research, funds which were made available b y the U.S. Department of State under Title VIII (The Soviet-East European Research and Trainin g Act of 1983, as amended) . -
The Master and Margarita by Mikhail Bulgakov Presents a Satirical Drama About Satan's Visit to Moscow, Where He Learns That the Citizens No Longer Believe in God
The Master and Margarita by Mikhail Bulgakov Presents a satirical drama about Satan's visit to Moscow, where he learns that the citizens no longer believe in God. He decides to teach them a lesson by perpetrating a series of horrific tricks. Combines two distinct yet interwoven parts, one set in contemporary Moscow, the other in ancient Jerusalem. Why you'll like it: Literary, novel-within-novel, darkly humorous, witty. About the Author: Mikhail Bulgakov (1891-1940) was a doctor, a novelist, a playwright, a short-story writer, and the assistant director of the Moscow Arts Theater. His body of work includes The White Guard , The Fatal Eggs , Heart of a Dog , and his masterpiece, The Master and Margarita , published more than twenty-five years after his death and cited as an inspiration for Salman Rushdie's The Satanic Verses . Questions for Discussion 1. Why does Woland come to Moscow? Why does he give a public performance at the Variety Theater? 2. Why is Woland the instrument of Margarita’s kindness toward Frieda and the master? 3. When Woland sees Margarita’s compassion for Pilate, why does he tell her, “Everything will turn out all right, the world is build on that”? (p. 382) 4. Why as the master earned peace, but not light? 5. Why does Pilate dream that he is involved in an “interesting and endless” argument with Yeshua, “this philosopher, who had thought up such an incredibly absurd thing as that all men are good,” and that Yeshua’s execution never took place? (p.319) 6. Why must Margarita become a witch and host Woland’s ball in order to rescue and be reunited with the master? 7. -
The White Guard Free Download
THE WHITE GUARD FREE DOWNLOAD Mikhail Afanasevich Bulgakov | 304 pages | 06 Jul 2006 | Vintage Publishing | 9780099490661 | English | London, United Kingdom Will Self on The White Guard by Mikhail Bulgakov Plot Summary. Insomma, assomiglia alla morte. Learn the History of: Zhitomir a. Nikolka Turbin 8 episodes. Born in Kiev inthe eldest of what was The White Guard become a family of seven children, Bulgakov belonged not only by blood — his father was a professor of theology at Kiev's theological seminary — but also by inclination to the ancient regime. Same goes with the other minor characters who flutter fleetingly within the novel, leaving their hidden implications to the imagination of the reader, like the inconsistent behavior of the depraved character of Mikhail Shpolyanskyor the bravery displayed by the tragic character of Colonel Nai-Turshis own The White Guard heroism leading him to his own demise. His widow had The White Guard published in large part in the literary journal Moskva inat the end of the Khrushchev era. User Reviews. I'm familiar with the history of the Russian revolution and it's aftermath from an American college course on the time and having heard a pro-monarchist The White Guard Guard version as well. Edit page. The Turbin family and surviving members of the White Guard hide like rats in their own homes, waiting for history to unfold, waiting to die, quaffing vodka during card games, screaming at one another over shitty whist-play. Add the first question. Read Next. By using our site, you acknowledge that you have read and understand our Cookie PolicyPrivacy Policyand Terms of Service. -
Bulgakov and Solzhenitsyn— Two Soviet Writers in the Shadows of Tolstoy and Dostoyevsky
The exclusive license for this PDF is limited to personal website use only. No part of this digital document may be reproduced, stored in a retrieval system or transmitted commercially in any form or by any means. The publisher has taken reasonable care in the preparation of this digital document, but makes no expressed or implied warranty of any kind and assumes no responsibility for any errors or omissions. No liability is assumed for incidental or consequential damages in connection with or arising out of information contained herein. This digital document is sold with the clear understanding that the publisher is not engaged in rendering legal, medical or any other professional services. Chapter 13 AN INTERVIEW WITH DIANA SHEETS: BULGAKOV AND SOLZHENITSYN— TWO SOVIET WRITERS IN THE SHADOWS OF TOLSTOY AND DOSTOYEVSKY Keywords: Bulgakov, doubling, One Day in the Life of Ivan Denisovich, Solzhenitsyn, The Days of the Turbins, The First Circle, The Gulag Archipelago, The Master & Margarita, The White Guard MFS: While it would take a book of about 1,000 pages to compare and contrast Tolstoy and Dostoyevsky, we are going to examine briefly two extraordinary 20th century Russian writers—Mikhail Bulgakov (1891-1940) and Aleksandr Solzhenitsyn (1918-2008)—both of whom wrote pioneering literature and resisted Soviet tyranny. But before discussing their work in detail, let’s begin with the literary concept of doubling. How does it apply to these two writers? DS: Tolstoy and Dostoyevsky, two Russian literary giants, are celebrated for having published some of the world’s greatest fiction. Nevertheless, we would be amiss not to extol the tremendous accomplishments of Bulgakov and Solzhenitsyn who managed to create pioneering literature, despite the nearly overwhelming oppression of Soviet totalitarianism. -
Soviet Diy: Samizdat & Hand-Made Books
www.bookvica.com SOVIET DIY: SAMIZDAT & HAND-MADE BOOKS. RECENT ACQUSITIONS 2017 F O R E W O R D Dear friends, Please welcome our latest venture - the October catalogue of 2017. We are always in search for interesting cultural topics to shine the light on, and this time we decided to put together a collection of books made by amateurs and readers to spread the texts that they believed should have been distributed. Soviet State put a great pressure on its citizens, censoring the unwanted content and blocking the books that mattered to people. But in the meantime the process of alternative distribution of the texts was going on. We gathered some of samizdat books, manuscripts, hand-made books to show what was created by ordinary people. Sex manuals, rock’n’roll encyclopedias, cocktail guides, banned literature and unpublished stories by children - all that was hard to find in a Soviet bookshop and hence it makes an interesting reading. Along with this selection you can review our latest acquisitions: we continue to explore the world of pre-WWII architecture with a selection of books containing important theory, unfinished projects and analysis of classic buildings of its time like Lenin’s mausoleum. Two other categories are dedicated to art exhibitions catalogues and books on cinema in 1920s. We are adding one more experimental section this time: the books in the languages of national minorities of USSR. In 1930s the language reforms were going on across the union and as a result some books were created, sometimes in scripts that today no-one is able to read, because they existed only for a short period of time. -
1 / Isaak Babelʹ: a Brief Life
1 / Isaak Babelʹ: A Brief Life Beginnings Neither Babelʹ’s “Autobiography,” written in 1924 to gain ideological credentials as a “Soviet” writer, nor the so-called autobiographical stories, which Babelʹ intended to collect under the title Story of My Dovecote (История моей голубятни) strictly relate to the facts, but they are illuminating for the construction of the writer’s identity as someone who hid his highly individual personality behind the mask of a Soviet writer who had broken with his bourgeois Jewish past. Babelʹ’s father, for example, was not an impoverished shopkeeper, but a dealer in agricultural machinery, though not a particularly successful businessman. Emmanuel Itskovich, born in Belaia Tserkovʹ, was a typical merchant who had worked his way up and set up his own business.1 Babelʹ’s mother, Fenia (neé Shvekhvelʹ), as Nathalie Babel has testified, was quite unlike the Rachel of the Childhood stories. About his book of Childhood stories, Story of My Dovecote, Babelʹ wrote his family: “The subjects of the stories are all taken from my childhood, but, of course, there is much that has been made up and changed. When the book is finished, it will be clear why I had to do all that.”2 But then the fantasies of the untruthful boy in the story “In the Basement” (“В подвале”) do inject a kind of poetic truth into the real lives of his crazy grandfather, a disgraced rabbi from Belaia Tserkovʹ, and his drunken uncle Simon-Wolf. Despite the necessary post-revolutionary revision of biography carried out by many writers, nothing could be more natural than Hebrew, the Bible, and Talmud being taught at home by a melamed, or part-time tutor. -
The Spectator and Dialogues of Power in Early Soviet Theater By
Directed Culture: The Spectator and Dialogues of Power in Early Soviet Theater By Howard Douglas Allen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Sociology in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Victoria E. Bonnell, Chair Professor Ann Swidler Professor Yuri Slezkine Fall 2013 Abstract Directed Culture: The Spectator and Dialogues of Power in Early Soviet Theater by Howard Douglas Allen Doctor of Philosophy in Sociology University of California, Berkeley Professor Victoria E. Bonnell, Chair The theater played an essential role in the making of the Soviet system. Its sociological interest not only lies in how it reflected contemporary society and politics: the theater was an integral part of society and politics. As a preeminent institution in the social and cultural life of Moscow, the theater was central to transforming public consciousness from the time of 1905 Revolution. The analysis of a selected set of theatrical premieres from the Bolshevik Revolution in 1917 to the end of Cultural Revolution in 1932 examines the values, beliefs, and attitudes that defined Soviet culture and the revolutionary ethos. The stage contributed to creating, reproducing, and transforming the institutions of Soviet power by bearing on contemporary experience. The power of the dramatic theater issued from artistic conventions, the emotional impact of theatrical productions, and the extensive intertextuality between theatrical performances, the press, propaganda, politics, and social life. Reception studies of the theatrical premieres address the complex issue of the spectator’s experience of meaning—and his role in the construction of meaning. -
Summer-Folk : Datchniki, Scenes from Life
oet Hore ipiaps; SUMMER FOLK (DATCHNIKI) MAXIM GORKI Richard G. Badger, Publisher, Bosto n LIBRARY 'INIVERSITY OF CALIFORNIA RIVERSIDE VOLUME XVI AUTUMN 1905 NUMBER III ^SUMMER-FOLK* [DATCHNIKI] Scenes from Life By Maxim Gorki Translated from the Russian by Aline Delano DRAMATIS PERSON/E Serguey Vassilievitch Bassoff, Lawyer, 40. Varvara Michailovna, his wife, 27. Kaleria, his sister, 29. Vlass, brother of Bassoff's wife, 25. Piotr Ivanovitch Sussloff, Civil Engineer, 42. Yulia Fillipovna, his wife, 30. Kyrill Akimovitch Dudakoff, Physician, 40. Olga Alekseyevna, his wife, 35. Iakov Petrovitch Shalimoff, Author, 40. Pavel Sergueyevitch Rumin, 32. Marya Lvovna, Physician, 37. Semion Semionytch Dvoetchie [Colon], Susslofs uncle, 55. Nikalay Petrovitch Zamysloff, Bassofs junior partner, 28. Zimin, a student, 23. Pustobaika [Talker], First Watchman, 50. Kropilkin, Second Watchman. Sasha, Bassoff' s Maid-Servant. * Copyright, 1905, by Aline Delano (0 SUMMER-FOLK A woman with a bandaged cheek. Mr. Seminoff. A lady in a yellow gown A young man in a plaid suit ( Theatrical in blue A young lady ( Amateurs A young lady in pink A Cadet A gentleman in a tall hat Scene : A Country place near St. Petersburg. Time : The Present. Act I. A Summer room in Bassofli's country-house. Act II. A Field in front of the house. Act III. A Glade in the Forest. Act IV. Same as Act II. ACT I Bassofs' Country-house. A large room which is both parlor and dining-room. In the rear, to the left, an open door leading to Bassoff's study, to the right, a door into his THEwife's bed-room.